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Winged Feet and Mute Eloquence: Dance In Winged Feet and Mute Eloquence: Dance in Seventeenth-Century Venetian Opera Author(s): Irene Alm, Wendy Heller and Rebecca Harris-Warrick Source: Cambridge Opera Journal, Vol. 15, No. 3 (Nov., 2003), pp. 216-280 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/3878252 Accessed: 05-06-2015 15:05 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/3878252?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Cambridge Opera Journal. http://www.jstor.org This content downloaded from 128.112.200.107 on Fri, 05 Jun 2015 15:05:41 UTC All use subject to JSTOR Terms and Conditions CambridgeOpera Journal, 15, 3, 216-280 ( 2003 CambridgeUniversity Press DOL 10.1017/S0954586703001733 Winged feet and mute eloquence: dance in seventeenth-century Venetian opera IRENE ALM (edited by Wendy Heller and Rebecca Harris-Warrick) Abstract: This article shows how central dance was to the experience of opera in seventeenth-centuryVenice. The first part provides an introduction to the use of dance in Venetian opera and the primary sources - libretti, scores, treatises, and various eyewitness reports. The second section summarizes the extraordinaryvariety of subjects and style of the dances. A third section treats the musical sources, describing stylistic features of the dance music, as well as providing importantinsights as to how to identify which vocal or instrumental excerpts would likely have been danced. Coming on to the stage, the dancer honours the public He endeavours to tell stories with his skilful hands. And now, when the pleasing retinue pours out sweet songs, Which the singer echoes, he demonstrates by dancing; He fights, plays, loves, revels as Bacchus, turns, stands, With illustration he gracefully completes the performance. The man has as many languages as limbs; Wondrous is the Art Which makes fingers silently speak.' Of all the arts, dance is the most ephemeral. Like sculpture, dance exists in three-dimensionalspace, but it is also kinaesthetic.And while music also moves through time, dance - for the vast majorityof its history - has lacked any form of notation or written score. Time has erasedor buried so much directknowledge, thus historiansof dance are left with only scatteredfragments of documentation- names of dancers, of steps, of ballets- and the feeble power of words to capture and record the movements of bodies on the stage. As Nino Pirrottaso eloquentlywrote regardingthe commediadell'arte: But it often happens in the history of music that the more widely diffused and popular are the facts the historian wishes to examine, the fewer precise elements of knowledge are available to him. In this case at the time of its performance everyone knew the music performed and the ways and means of its execution, but time has swallowed and buried this direct knowledge and has left us only scattered and second- or third-hand documents. We need to gather them together and laboriously interpret them to recover a pale image of a 1 'Bellissima e la descrizione fatta da un Poeta antico dell'azioni d'un Saltatore. ["Very beautiful is the description written by a poet of antiquityof the movements of a dancer":] Ingressus scenam, populos saltator adorat. / Solerti tendit prodere gesta manu. / Nam cum grata cohors diffundit cantica dulcis, / Quae resonat Cantor, motibus ipse probat; / Pugnat, ludit, amat, Baccatur,vertitur, astat, / Illustransverum cuncta decore replet. / Tot linguae quot membra viro; Mirabilisest Ars / Quae facit articulos ore silente loqui.' Andrea Perrucci, Dell'arterappresentativa premeditata, ed all'improviso(Naples, 1699), 184. This content downloaded from 128.112.200.107 on Fri, 05 Jun 2015 15:05:41 UTC All use subject to JSTOR Terms and Conditions CAMBRIDGE JOURNAL 4?,7m.? hz,?,7 lana This content downloaded from 128.112.200.107 on Fri, 05 Jun 2015 15:05:41 UTC All use subject to JSTOR Terms and Conditions Winged feet and mute eloquence 217 reality that in its own time must have imposed itself with the most obvious power of suggestion.2 Pirrotta's words could equally well describe the task of studying, reconstructing, and writing much of the history of dance.3 Moreover, in Western culture that which goes unrecorded has often been dismissed as of little value. Perhaps because of this, the history of dance has been a latecomer to academic and scholarly studies. Compounding the problem is a centuries-old Western tradition of viewing dance at best with suspicion and at worst as an immoral and even dangerous activity. Choreographers and dancers were rarely given the same status and respect as other artists and musicians. The treatises of the great fifteenth-century Italian dancing masters all begin with a defence of the place dance held among the arts and sciences - in essence a plea for respect. Of the many Italian cities and courts producing opera during the seventeenth century, I have chosen Venice as the focus of this study for a number of reasons. Principal among them is that, following the opening of the first commercial theatre there n 1637, an explosion of operatic activity established Venice as the leading producer of operas during the remainder of the seventeenth century. Moreover, these operas were exported to cities and courts throughout Italy and Europe. The central role of Venice in shaping and expanding this new musical-dramatic repertoire, as well as the substantial documentation of the operas performed there, make it an ideal place to begin a study of Italian theatrical dance during this period. Understanding the function and style of dance in Venetian opera is fundamental to future studies of theatrical choreography in other Italian and European cities. My aim is to provide a foundation for further research through a thorough study of the Venetian ballo.4 Even a cursory glance through the hundreds of libretti for Venetian operas shows that balli were indeed a standard feature of productions during the seventeenth century. The quantity of these dances and the diversity of their subjects provide undeniable evidence that ballet was not created and developed solely in France, but in fact has a rich history in Venice and throughout Italy. To dismiss the Venetian balli as a marginal element of Venetian opera simply because they are different from the well-documented and better-known French dances, perpetuates the false notion cultivated by French writers of the seventeenth and eighteenth centuries that ballet 2 Nino Pirrotta,'Commedia dell'Arte and Opera',Musical Quarterly, 41 (1955), 170;reprinted in Musicand Culture in Italyfrom the Middle Ages to theBaroque (Cambridge, MA, 1984), 344. 3 On the problemsof reconstructingdance - not just steps but also style- see ShirleyWynne, 'Revivingthe GestureSign: Bringing the Dance BackAlive', in TheStage and the Page: London's'Whole Show' in theEighteenth-Centu~y Theatre, ed. Geo. WinchesterStone, Jr. (Berkeley and Los Angeles,1981), 193-208, and by the sameauthor, 'Baroque Manners and Passions in ModernPerformance', in Opera&e Vivaldi, ed. MichaelCollins and Elise K. Kirk(Austin, 1984), 170-78. 4 The term'ballo' means dance in a generalsense, but is also specificallyused for the majority of theatricaldances in Venetianoperas (rather than 'balletto' or 'danza').I have not translated'ballo' as 'ballet',since that termhas specificconnotations associated with French danceand with laterstyles of theatricaldancing. This content downloaded from 128.112.200.107 on Fri, 05 Jun 2015 15:05:41 UTC All use subject to JSTOR Terms and Conditions 218 Irene Alm is entirely a French art. It also ignores the considerable influence of Italian theatrical dance on eighteenth- and nineteenth-century European ballet.5 There are fundamental reasons why we know so much less about the Venetian balli during this period. These have to do with the status and position of the dancers, and the ways the opera houses were managed. Dancing in the Venetian opera house was a professional activity, and thus there was no need for the kinds of treatises and dance manuals that instructed the nobility of late Renaissance Italy or eighteenth- century France. Choreographies for the operas were probably never notated, but were most likely created and taught during rehearsals, then memorized by the corps of dancers - a practice that continues in most theatres to this day. In this sort of oral tradition (perhaps more aptly thought of as a 'physical' or 'corporeal' tradition), the repertoire, techniques, and styles were passed directly from one generation to the next. Information about the Venetian balli must thus be gleaned from a variety of sources, none of which provides the level of detail that we might desire. No dance treatise deals directly with the Venetian repertoire; the writings on theatrical aesthetics by Doni and other theorists speak only obliquely of operatic balli, focusing much of their attention on the inheritance from the ancients. Diaries, newsletters, and chronicles provide tantalizing - but often frustratingly brief - glimpses of operatic spectacle including dance. The choreographers for Venetian opera did not write treatises, but they nonetheless left a fascinating trail of evidence that also helps us to reconstruct the history of dance in Venetian opera. This is most evident in the career of Giovanni Battista Balbi (ft.
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